The Week in Reviews, Op. 278: Simone Lamsma; Pinchas Zukerman and Amanda Forsyth; Nadja Salerno-Sonnenberg

July 2, 2019, 12:48 PM · In an effort to promote the coverage of live violin performance, each week presents links to reviews of notable concerts and recitals around the world.

Simone Lamsma
Simone Lamsma. Photo by Otto van den Toorn.

Simone Lamsma performed the Mendelssohn Violin Concerto with the Milwaukee Symphony.

Pinchas Zukerman and cellist Amanda Forsyth performed the world premiere of Avner Dorman’s "Double Concerto" with the the Adelaide Symphony Orchestra.

Nadja Salerno-Sonnenberg performed Bach's Violin Concerto in A minor with the Eastern Festival Orchestra.

Vadim Gluzman performed the Tchaikovsky Violin Concerto with the Melbourne Symphony Orchestra.

Carolin Widmann performed Stravinsky's Violin Concerto with the New Zealand Symphony Orchestra.

The Orion String Quartet performed works by Mozart, Kreisler and Schubert at Bard’s Olin Hall.

Michael Foyle performed the Korngold's Violin Concerto in D major, Op. 35 with the City of Cambridge Symphony Orchestra.


July 6, 2019 at 01:32 PM · I enjoyed the comments about Lamsma being an "enthusiastic collaborator." I think most concertgoers really enjoy that element of live performance.

But is it organic or stage-acting? Not that it really matters, but I'm thinking of a piece that I was studying for a while because our community orchestra was performing it with a professional cellist: The Tchaikovsky Rococo Variations. There is a wonderful video on YouTube with Narek Hakhnazaryan, who I think is THE consummate artist of the cello of his generation. If you watch the video you'll see him acknowledge sections or individuals in the orchestra with big smiles. But then if you watch another performance of his, with a different orchestra, all those gestures are basically the same. So -- are they organic, or are they just "part of the score" for him?

July 6, 2019 at 09:46 PM · @Paul Deck ~

There are many many copycats out there - all trying to get to a perceived 'Top' ~ Whilst I don't blame any, I do 'see through' masked smiles etc. Unfortunately, we now live in a Visual Era of 'Musicality' ~ This doesn't bode well for regally Inner Core Artistry. People now 'listen' w/ their eyes & most ears just happen to 'tune in' if something visually exciting grabs aural attention ~ I know that a great Brahms, Sibelius, Shostakovich #I, Stravinsky, Korngold, Khachaturian & Rimsky-Korsakov (bless his Soul) do Grab Aural Attention in Ears of True Blue Violin aficionados! Yet we must remind our sorrowful selves that "things" have really changed -- at least for the YouTube Generation ~ So, those fortunate to be Apostle's of Heifetz, Milstein, Gingold, Zino Francescatti, Grumiaux, & The Like, have enormous responsibity NOW to Play LIVE for many more

younger concert goer's & God Willing, attract by still up to gold standard maintained Artistry w/huge traces of our fabled true blue Master Mentor's ...

Sending you best musical greetings, dear Paul ~

Elisabeth Matesky / Chicago *

*I took a Long Look at the "... Fastest Violinist in the World" Discussion & thought you were good & positive ~ DK does have an innate facility, but it takes Everything to train a wild Philly to transform into a Secretariat or a Violinist of Truly Fine authenticity & control whilst bringing out inner & long held back emotions for a zillion psychological reasons . . . Chicago Hugs to you! EM ~

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